In the landscape of contemporary cinema, a discernible shift is underway, one that places women, particularly wives, at the forefront of narratives. No longer relegated to the shadows, these women have emerged as the new stars, while their husbands now orbit in supporting roles. This trend finds notable expression in recent films like 'Priscilla' (Sofia Coppola, 2023) and 'June' (Kristen Vaurio, 2023). In these cinematic works, the wives take centre stage, offering nuanced layers to characters once relegated to mere background figures as well as the former protagonists. As we delve into this intriguing tendency, it becomes evident that by examining these narratives alongside other musical biopics and remember the overlooked trajectories within Hollywood's storytelling landscape.
‘Priscilla’ is currently a nominee in some categories of film festivals and successful in terms of box office. It follows the trajectory of Priscilla Presley (Cailee Spaeny), the former wife of the King of Rock N’ Roll, from the moment they met until their divorce in 1973. Coppola depicts her using a lot of symbolism, as well as their relationship. From the beginning, Priscilla is introduced in bright and pastel colours, white is frequent, the lack of makeup, and her natural hair. The union of these elements suggests her girlhood with naivety, innocence, and purity. Contrasts with the title intercuts with makeup, high heels, dyed hair, nail polish with hairspray that sets the film’s decade and theme as women’s coming-of-age. When the couple met at the parties, the light is red, the colour of passion and danger. The first time in his bedroom: fan letters, a movie poster with an actress in the centre, and a picture of his recently deceased mother. Not so many scenes after, a tiger sculpture, a symbol of power, authority, and masculinity, and the king of the animals. Some of them are foreshadowing, representing barriers within their relationship. Over their relationship, there are frequent shots that highlight she is indoors, another metaphor for their relationship to indicate how she is trapped, sexually repressed. Elvis Presley (Jacob Elordi) is depicted as controlling, manipulative, sexist, aggressive, an absent father, as well as vulnerable and insecure. Los Angeles, the blue sky, and palm trees represent the broaden horizons for Priscilla, outside the domestic environment with a social life. During this move, her hair is back to natural, and she changes from dresses and skirts to trousers. He invites her over to a red room, under a euphoric state induced by drugs and alcohol, sexually violates her. The movie ends with shots of a divorced-healing Priscilla in trousers driving under the autumn with “I Will Always Love You.” It is emblematic, the car journey illustrates her freedom and broadens horizons beyond their marriage. Autumn is her transformation and death of her old self. Over many years, trousers were the epitome of masculinity, under this context, it is more than freedom, women’s emancipation.
‘June’ is a documentary about June Carter Cash; its title itself indicates the angle. Its beginning introduces the names in the country music industry, and her acquaintances mentioned how she is underrated, misunderstood, and underappreciated. They note that her notoriety and recognition in the mainstream came via ‘Walk the Line’ (James Mangold, 2005), the biopic of Johnny Cash. However, before they met in 1956, she had her own trajectory that the documentary portrays and inspired none other than Dolly Parton, the renowned queen of country. The archive footage from her Grammy Awards solo debut, ‘Press On’ (1999), along with reports from scholars and memories from acquaintances, serve as the backbone of this documentary. An apple does not fall far from the tree; June was the daughter of Mother Maybelle Carter. Both were part of the Carter Family, the trailblazers of country music in the US and June was a part of The Carter Sisters. In the 1950s, she was married three times, a solo mother of two, and embarked on a double journey with an entertainer's life on the road. Back then, these were stigmas, especially in conservative Nashville and even for herself due to her Christian upbringing. Her marriage with Johnny Cash was marked by emotional co-dependency and chemical dependency, conflicts, and partnership professionally and personally. A detail that will not go unnoticed is how ‘Press On’ was rejected by record labels due to her age (70), and Vicky Hamilton created her own, Small Hairy Dog, to release it. The documentary also offers a snippet of her posthumous Grammy-awarded album, ‘Wildwood Flower’ (2003), mentioning her reconnection with home in her final years.
Last year, in 2023, there was a miniseries hype surrounding ‘Daisy Jones and the Six’ (2023), inspired by Fleetwood Mac’s ‘Rumours’ (1977), known for heavy drug use and conflicts. The titular protagonist was loosely based on Stevie Nicks, who was a part of Buckingham Nicks, which was not a commercial success at the time. Fleetwood Mac catapulted her into singing and songwriting. In the 1980s, she started her solo career until eventually leaving the group.
In 2025, it will have been 15 years since the release of ‘The Runaways’ (Floria Sigismondi, 2010), the biopic of the titular band, who were one of the first all-female rock bands in the 1970s.
These stars' stories reconnect in terms of sexism and misogyny. Regardless of race, class, ethnicity, or gender identity. This remains true regardless of the timeframe, whether it be pre-feminism or during upcoming feminist waves. These are recurrent themes, contributing to the success of the films and their resonance with female audiences. Many stories of women remain hidden under the brightness of men or blurred in history. Women support women, and many of these narratives are becoming stars in the eyes of rising female directors, stars that pave the way to a whole and new generations of women.
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